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This drawing by Asger Jorn is actually two drawings cut and spliced together. It is unfeasible without seeing the object to determine the exact arrangement of materials. Whether the drawing underneath (top to bottom) is intact as a whole rectangle with the top section stuck over it, or is it the other way round. Or if both are actual fragments and the curved rips meet perfectly, although this doesn’t seem likely. We can also only speculate as to how Jorn made the work, was it originally two drawings that were unsuccessful as singular propositions, but that through Jorns improvisation became successful as one. Or indeed if he intended from the start to make one drawing from two separate drawings, which is also a realistic scenario. It is listed as ‘Ink on two pieces of paper’ 1950, 44.5 x 33cm. It is vaguely figurative and looks like each sub drawing is made on the same type of paper, with the same ink and perhaps if not at the same time, then around the same time. Each drawing has marks that could at one point have suggested a collection of figures. These have subsequently been amalgamated into more distorted and ambiguous figurative pairings, both left to right and top to bottom. Parts of figures are certainly recognisable, there are legs and arms, and there might be a hand, some breasts, and teeth in a monstrous mouth. Jorn was known for pictures that had a recognisable duality in the composition, creating engaging oppositional tensions. The bold lines and ergonomic composition are fast and confident, Jorn was interested in spontaneity and it makes perfect sense for him to quickly outline these scenarios in a way that made the outcome unpredictable, and it is perhaps also completely understandable that when he was not surprised enough by the outcome, he might tear the two in half and make one, just to deny easy interpretation. Jorn’s rather drastic solution to a drawing lacking vitality is an indication of his ability to contort accepted modes. It’s clearly the drawing of an agitator, constantly seeking new possibilities in art and life. His legacy confirms this idea; COBRA, Situationism and of course, three sided football.